NSTRUCTIONS 


EASTMAN   KODAK  CO. 

ROCHESTER,  N.  Y„ 


successors  to  BOSTON  CAMERA  MF'G  COMPANY, 
BOSTON, 


KODA  A 
Trade  Mark,  iSSS. 


EASTMAN   KODAK  CO. 

ROCHESTER,  N.  Y. 

MANUFACTURERS  OF 

Kodaks, 
Kodets, 

Bullet  Cameras, 

Bulls-Eye  Cameras, 

Eastman's  Solio  Paper, 

Western  Collodion  Paper, 

Eastman's  Dry  Plates, 

Eastman's  Permanent  Bromide  Paper, 

Eureka  Bromide  Paper, 

Eastman's  Platino  Bromide  Paper, 

Eastman's  Enameled  Bromide  Paper, 

Eastman's  Transparent  Film, 

Eastman's  Transparency  Plates, 

Eastman-Walker  Roll  Holders, 

View  Cameras,  Tripods  and 

Other  Specialties. 


CONTENTS. 

Part  I. 

Loading  the  Camera. 

Part  II. 

Making  the  Exposures. 

Part  III. 

Removing  the  Film. 

Part  IV. 

Developing. 

Part  V. 

Printing  on  Solio  Paper, 


IMPORTANT  THINGS 


:    :   TO  REMEMBER. 


About  the  light. — Don't  aim  toward  the  sun  ; 
have  your  subject  in  the  brightest  light. 

Good  snap   shots   cannot  be   made  in  doors  ; 

neither  can  they  be  made 
out  doors  on  dark,  cloudy 
days.  The  sun  must  either 
be  shining  brightly,  or  behind 
light  clouds. 


Dont  push  the  spring  with  a  quick  jerky  motion 
as  it  is  liable  to  waver  the  Camera  and  cause  a  blurry 
picture,  Hold  the  Camera  firmly  against  the  body 
as  shown  in  the  illustration,  and  press  the  spring 
gently  until  the  shutter  clicks. 

Be  careful  that  you  do  not  unroll  or  loosen  the 
cartridge  when  loading  or  unloading  the  Camera. 


PART  1. 


ZtOading  the  Camera. 

Hp  HE  FILM  for  the  Bulls  Eye  Camera  is 
1  furnished  in  light  proof  rolls  and  the 
instrument  can  therefore  be  loaded  in  day- 
light. The  operation  should,  however,  be 
performed  in  a  subdued  light,  not  in  the 
glare  of  bright  sunlight. 

To  Load. 

I.  Take  a  position  at  a  table  as  far  as 
possible  from  any  window  and  press- 
ing on  the  bottom 
of  the  camera  near 
the  tripod  socket 
with  the  left  hand 
pull  out  the  brass 
catch  as  indicated  in 
cut  and  take  the  roll 
holder  from  the  box. 

II.  Slip  the  catch  and  pull  out  the  brass 
rod  which  is  in  the  recess  at  the  front 
left-hand  corner  of  the  roll  holder. 


5 


III.  Put  the  full  spool  into  this  recess 
and  slip  the  brass  rod  into  place  and 
fasten  with  catch.  Be  sure  and  get 
the  "Top"  at  the  top.  Each  spool  is 
marked  on  the  end. 

IV.  Cut  the  gum  slip  that  holds  the  end 
of  the  paper  and  holding  the  thumb  of 
the  left  hand  firmly  against  the  roll 
as  shown  in  cut  ;  thread  the  black 


paper  under  the  first  cross  piece  and 
pull  out  beyond  the  end  of  camera 
nine  inches.     Pass  under  the  paste- 


6 


board  flap  ;  under  the  second  cross 
piece ;  thread  into  the  slot  in  Reel, 
being  careful  that  the  paper  draws 
straight  and  true,  and  turn  the  Key 
until  the  paper  is  taut.     Insert  the 
camera  body  in  the  case  once  more. 
Throughout  the  foregoing  operations,  from 
the  time  the  gum  slip  is  cut  on  the  fresh  roll 
of  film,  until  the  roll  holder  is  once  more  in 
place  in  the  case,  keep  the  thumb  of  the  left 
hand  bearing  firmly  on  the  roll  otherwise  the 
roll  will  slip  and  loosen  sufficiently  to  fog  the 
film* 

If  an  1 8  exposure  roll  be  used,  special 
care  must  be  taken  to  keep  it  rolled  tightly. 
Read  the  special  directions  contained  in  the 
box  of  film, 

V.  Tighten  the  thumbscrew  at  the  bot- 
tom of  the  camera. 

VI.  The  roll  of  film  in  the  camera  is  cov- 
ered with  black  paper  and  this  must 
be  reeled  off  before  a  picture  can  be 
taken.  Turn  the  key  slowly  to  the 
left  and  watch  in  the  little  red  celluloid 
window  in  the  back  of  camera.  When 
15  to  18  turns  have  been  given  the 
figure  1  will  appear  before  the  window. 

The  film  is  now  in  position  for  making 
the  first  picture. 

7 


PART  II. 


Fiff.  I. 


Making  the  Exposures. 

Instantaneous  Exposures.    {"S?mp  Shots:') 

The  shutter  is  always 
set,  and  is  operated 
by  pushing  the  spring 
alternately  to  right 
or  left.    (See  Fig.  I.) 

The  pointers  on  the  shutter  seen  through 
the  front  indicate  which  way  to  push  the 
spring,  if  in  doubt  ;  (see  Fig  2.)  It  is  not, 
however,  absolutely  necessary  to 
consult  the  pointers,  as  if  the 
spring  should  be  pushed  the 
wrong  way,  the  shutter  would 
simply  remain  unmoved,  and 
no  "  click  "  would  be  heard, 
thus  indicating  that  the  spring 
should  be  pushed  in  the  oppo- 
site direction. 

(Fig.  2.) 

To  take  the  most  perfect  instantaneous 
pictures,  bright  sunlight  must  be  shining 
directly  upon  the  #person  or  object  to  be 
photographed.  It  makes  no  difference 
whether  or  not  the  camera  is  in  shadow, 
but  never  aim  toward  the  sun  which 
should  be  over  your  back  or  shoulder. 

Aim  the  camera  at  whatever  you  want 


to  photograph,  which  will  then  be 
seen  in  the  "  finder  "  next  to  the  key. 
Hold  the  Camera  steady,  and  push  the 
shutter  spring  to  make  the  exposure. 


Turn    the   Film    into   Position. — 


sufficient  to  accomplish  this. 
Repeat  the  foregoing  operation  for  each 
picture. 

Time  Exposures  Indoors, 
i.   Put  the  Camera  in  Position. 


(See  Fig.  3.) 


Fig".  3- 


Turn  the  key 
slowly  to  the  left 
until  the  next 
number  appears 
before  the  win- 
dow. Three  or 
four  turns  will  be 


Diagram  showing  position  of  Camera. 


9 


Use  some  firm  support,  like  a  tripod 
or  table.  Set  in  such  a  position  that 
the  finder  will  embrace  the  view 
desired. 

The  diagram  shows  the  proper  posi- 
tion for  the  camera.  It  should  not  be 
pointed  directly  at  a  window  as  the 
glare  of  light  will  blur  the  picture. 
If  all  the  windows  cannot  be  avoided 
pull  down  the  shades  of  such  as  come 
within  the  range  of  the  Camera. 


To  make  a  time 
exposure  place  the 
camera  on  a  table 
or  rest,  and  pull  out 
the  time-stop  near 
finder,  as  shown  in 
Figure  4  ;  hold  the 
camera  steady  and 
push  the  spring  to 
release  the  shutter.       A.  Time  stop. 

It  will  be  seen  that  when  the  time- 
stop  is  pulled  out,  it  strikes  a  pin  on 
the  shutter  as  it  passes  the  lens, 
stopping  it  half  way  across,  with  the 
opening  over  the  lens. 
Try  this  a  few  times,  before  winding 


10 


the    film  into    position,  to  become 
accustomed  to  the  operation. 
Turn  a  new  film  in  position  as  described 

before.    (See  page  9.) 

For  interiors,  the  following  table  is  a  good 
guide  : 

Time  Needed  for  Interior  Exposures. 

White  walls,  and  more  than  one  window  : 

bright  sun  outside,  2  seconds  ; 
hazy  sun,  5  seconds  ; 
cloudy  bright,  10  seconds  ; 
cloudy  dull,  20  seconds. 

White  walls  and  only  one  window  : 

bright  sun  outside,  3  seconds  ; 
hazy  sun,  8  seconds  ; 
cloudy  bright,  15  seconds  ; 
cloudy  dull,  30  seconds. 

Medium-colored  walls  and  hangings,  and 
more  than  one  window  : 

bright  sun  outside,  4  seconds  ;j 
hazy  sun,  10  seconds  ; 
cloudy  bright,  20  seconds  ; 
cloudy  dull,  40  seconds. 

Medium-colored  walls  and  hangings,  and 
only  one  window  : 

bright  sun  outside,  6  seconds  ; 
hazy  sun,  15  seconds  ; 
cloudy  bright,  30  seconds  ; 
cloudy  dull,  60  seconds. 

1 1 


Dark-colored   walls  and    hangings,  and 
more  than  one  window  : 

bright  sun  outside,  io  seconds  ; 
hazy  sun,  20  seconds  ; 
cloudy  bright,  40  seconds  ; 
cloudy  dull,  1  minute  20  seconds. 

Dark-colored   walls  and    hangings,  and 
only  one  window  : 

bright  sun  outside,  20  seconds  ; 
hazy  sun,  40  seconds  ; 
cloudy  bright,  t  minute  20  seconds  ; 
cloudy  dull,  2  minutes  40  seconds. 

The  foregoing  is  calculated  for  rooms 
whose  windows  get  the  direct  light  from 
the  sky,  and  for  hours  from  three  hours 
after  sunrise  to  three  hours  before  sunset. 

If  earlier  or  later,  the  time  required  will 
be  longer. 

Time  Exposures  Outdoors. 

When  the  light  is  very  dull  or  weak, 
time  exposures  can  be  made  outdoors. 
The  time  of  exposure  varies  greatly  from 
one-half  a  second  under  a  porch  to  5  or 
10  seconds  under  thick  trees  in  the  middle 
of  the  day.  No  exact  directions  can  be 
given,  but  a  little  experience  will  teach 
the  proper  time  of  exposure  for  various 
subjects. 

12 


Time  exposures  cannot  be  made  while 
the  camera  is  held  in  the  hand.  Always 
place  it  upon  some  firm  support,  such  as 
a  tripod,  chair  or  table. 

In  General. 

We  recommend  everyone  to  do  their 
own  developing.  With  our  ABC  outfit 
it  is  very  simple  and  inexpensive,  no 
regular  dark  room  is  required,  and  the 
operator  can  obtain  proofs  from  the  nega- 
tives as  soon  as  they  are  dry. 

If,  however,  the  camerist  prefers  to 
have  us  "  do  the  rest,"  he  can  send  his 
Exposures  to  us  either  in  the  camera  by 
express,  or  take  them  out  and  send  them 
by  mail. 

We  have  larger  and  better  facilities  and 
more  skilled  operators  than  anyone  else, 
and  it  is  to  our  interest  to  get  the  best 
results  from  every  negative. 


13 


PART  III. 


Removing  the  Film. 

No  dark-room  is  required  to  change  the 
spools  in  the  Bulls-Eye.  The  operation 
should,  however,  be  performed  in  a  sub- 
dued light. 

I.  When  the  last  film  (No.  12  or  18 
according  to  size  of  roll)  has  been 
exposed  turn  the  key  until  it  will 
turn  no  further. 

II.  Provide  an  extra  spool  of  film  to  fit 
this  camera  and  take  a  position  by  a 
table  as  far  as  possible  from  any" 
window. 

III.  Unloose  the  catch  at  the  bottom 
and  take  the  roll  holder  from  the 
box. 

IV.  Cut  the  black  paper  where  it  is 
attached  to  the   empty  spool,  and 


14 


holding  it  taut,  so  as  to  wind  tightly, 
turn  the  key  until  the  paper  is  all  on 
the  reel. 

Note.— If  a  spool  of  18  exposures  be  used,  special  care 
must  be  taken  to  keep  it  rolled  tightly.  Take  the  spring 
clamp  that  will  now  be  idle  on  the  empty  spool  and  snap  it 
over  the  full  roll  on  the  reel  to  prevent  the  paper  from 
slipping. 

V.  Hold  the  reel  tightly  with  one  hand 
to  prevent  the  paper  from  loosening; 
moisten  the  gummed  end  of  the  paper 
and  stick  it  down  to  prevent  the  paper 
from  unwinding  ;  loosen  the  key  by 
turning  to  the  right  and  pull  it  out. 

VI.  Remove  the  roll  from  camera  by 
pulling  out  the  cloth  band  which  runs 
behind  it.  The  band  is  attached  to  a 
removable  rod  (with  thumb  hole)  the 
ends  of  which  drop  into  slots  at  the 
top  and  bottom  of  camera. 


15 


VII.  Remove  the  toothed  wheel  from  the 
end  of  the  reel  and  wrap  up  the  roll 
immediately  to  prevent  the  light  from 
injuring  the  film. 


VIII.  Now  pull  out  the  rod  which  carries 
the  empty  spool,  and  attach  the 
toothed  wheel  to  the  bottom  end  of 
this  spool,  slipping  the  three  pins  on 

the  wheel  into  the 
holes  in  end  of  spool. 
This  forms  the  new 
reel.  Drop  into 
place  with  tooth 
wheel  at  bottom  of 
camera  ;  insert  the 
key  and  turn  to 
the  left  until  it  is 
screwed  firmly  into 
the  reel. 

IX.  Load  as  described  in  part  one,  page  5. 
The  roll  of  exposures  can  now  be 
mailed  to  us  for  finishing,  or  you  can  do 
the  developing  and  printing  yourself. 


PART  IV. 


Developing. 

Provide  an  Eastman's  A  B  C  Develop- 
ing and  Printing  Outfit,  which  contains  : 

i  Eastman's  Candle  Lamp, 
4  Developing  Trays, 
i  Glass  Beaker, 
14x5  Printing  Frame, 
14x5  Glass  for  same, 

1  Stirring  Rod, 

l/z  Dozen  Developing  Powders, 
yz  Pound  Hyposulphite  Soda, 

2  Dozen  Sheets  4x5  Solio  Paper, 
1  Bottle  Solio  Toning  Solution, 

I  Package  of  Bromide  of  Potassium, 
1  Ounce  Glycerine. 

Also  provide  a  pair  of  shears,  a  pitcher 
of  cold  water  (preferably,  ice  water),  a 
pail  for  slops,  and  a  dark  room  having  a 
shelf  or  table. 

By  a  dark  room  is  meant  one  that  is 
wholly  dark — not  a  ray  of  light  in  it. 
Such  a  room  can  easily  be  secured  at 
night  almost  anywhere.  The  reason  a 
dark  room  is  required  is  that  the  film  is 
extremely  sensitive  to  white  light,  either 
daylight  or  lamplight,  and  ivould  be  spoiled 
if  exposed  to  it  even  for  a  fraction  of  a 
second. 

Having  provided  such  a  room  or  closet 
where,  when  the  door  is  closed,  no  ray  of 
light  can  be  seen. 

17 


1.  vSet  up  on  the  table  or  f 
shelf  the  Orange  Candle 
Lamp,  and  light  it  as 
directed  in  the  circular 
which  comes  in  the  box 
in  which  the  lamp  is  en- 
closed. 

The  lamp  gives  a  subdued  yellow  or 
orange  light  which  will  not  injure  the 
film  unless  it  is  held  close  to  it.  Set 
the  lamp  on  the  table  at  least  eighteen 
inches  from  and  with  the  side  toward 
the  operator. 

2.  Unroll  the  film  and  cut  the  expos- 
ures apart  as  shown  in  Fig.  I. 


In  unrolling  the  film  preparatory  to 
development,  care  must  be  taken  that  the 
end  be  not  allowed  to  roll  up  over  the 
paper.  The  exposures  should  be  cut  apart 
with  the  paper  on  top. 


Fig.  II  shows  a  cartridge  unrolled  with  the  film  on  top. 
To  correct  this  simply  turn  back  the  film  as  indicated  by 
the  dotted  lines,  thus  bringing  the  film  under  the  paper. 


3.  Fill  one  of  the  trays  nearly  full  of 
water,  and  put  into  it  the  exposures, 
one  by  one,  face  down;  put  them 
in  edgewise,  to  avoid  air  bells,  and 
immerse  them  fully. 

Cover  the  tray  with  a  bit  of 
brown  paper  to  keep  out  the  light 
from  the  lamp. 


Fig.  II. 
WRONG. 


4.  Open  one  of  the  developer  pow- 
ders and  put  the  contents  (two 
chemicals)  into  the  beaker  and  fill 
it  up  to  the  ring  with  water.  Stir 
until  dissolved  with  the  wooden  stir- 
ring rod. 

5.  Take  one  of  the  exposures  from 
the  water  and  lay  it,  face  up,  in  the 
second  tray  and  pour  upon  it  the 
developer.  Rock  it  back  and  forth 
to  prevent  streaks  and  air  bubbles  ; 
in  about  1  minute  the  film  will 
begin  to  darken  in  spots,  represent- 
ing the  lights  of  the  picture,  and  in 
about  2  minutes  the  operator  will 
be  able  to  distinguish  objects  in 
the  picture.  The  developer  should 
be  allowed  to  act  5  to  10  minutes. 
The  progress  of  the  development 
may  be  watched  by  holding  the 
negative,  from  time  to  time,  up  to 
the  lamp. 


20 


6.  Transfer  the  developed  film  to 
the  third  tray  and  rinse  two  or 
three  times  with  water,  leaving  it 
to  soak  while  the  next  film  is  being 
developed. 

A  dozen  negatives  can  be  developed  one 
after  the  other  in  one  portion  of 
developer  ;  then  it  should  be  thrown 
away  and  a  fresh  portion  mixed. 

Only  one  negative  should  be  developed 
at  a  time  until  the  operator  becomes 
expert,  then  he  can  manage  three  or 
tour  in  the  tray  at  one  time  and  the 
developer  will  answer  for  twenty-four 
films  before  being  exhausted. 

As  each  successive  negative  is  developed 
it  should  be  put,  with  the  preceding 
negatives,  in  the  washing  tray  and 
the  water  changed  twice,  to  prevent 
the  developer  remaining  in  the  films 
from  staining  them. 

7.  Put  two  tablespoonfuls  of  Hypo- 
sulphite of  Soda  into  the  fourth 
tray,  fill  two-thirds  full  of  water, 
and  stir  until  dissolved.  This  is 
called  the  fixing  bath. 

8.  Immerse  the  negatives  one  by  one 
in  the  fixing  bath  until  they  are 
entirely  clear  of  white  spots  and  are 
transparent  instead  of  milky  by 
transmitted  light.  This  will  require 
about  10  minutes. 

2 1 


g.  The  yellow  shade  can  be  removed 
from  the  lamp  as  soon  as  all  the 
exposures  have  been  fixed. 

10.  Pour  off  the  fixing  solution  into 
the  slop  bucket,  and  fill  the  tray 
with  clear,  cold  water  ;  repeat  this 
at  intervals  of  five  minutes,  five  or 
six  times,  keeping  the  negatives  in 
motion,  or  transferring  them  back 
and  forth  to  tray  No.  3,  one  by  one, 
to  ensure  the  water  acting  evenly 
upon  them. 

The  fixing  solution  must  only  be  used 
in  tray  No.  4.  And  the  negatives, 
after  fixing,  must  not  be  put  in  either 
No.  1  or  No.  2  trays.  Neither  must 
any  of  the  fixing  solution  be  allowed 
to  touch  the  films,  through  the  agency 
of  the  fingers,  or  otherwise,  until  they 
are  ready  to  go  into  the  fixing  bath, 
otherwise  they  will  be  spotted  or  black- 
ened, so  as  to  be  useless. 

n.  When  the  negatives  are  thoroughly 
washed,  put  one-half  ounce  of  glyc- 
erine into  one  pint  of  water  (four 
portions  measured  with  the  devel- 
oper glass),  stir  well  and  soak  the 
negatives  in  the  solution  for  5  min- 
utes, then  remove  them  and  wipe 


22 


off  the  surplus  moisture  with  a  soft, 
damp  cloth,  and  pin  them  by  the 
four  corners,  face  up,  to  a  flat  sur- 
face to  dry. 

The   glycerine   solution  may   be  used 

repeatedly. 
The  trays  and  beaker  should  now  be 

rinsed  out  and  set  away  to  drain  and 

dry. 

When  the  negatives  are  dry,  they  are 
ready  for  printing,  as  described  in 
Part  V. 

Defective  Negatives. 

By  following  closely  the  foregoing  direc- 
tions, the  novice  can  make  seventy-five 
per  cent.,  or  upwards,  of  good  negatives. 
Sometimes,  however,  the  directions  are 
not  followed,  and  failures  result. 

To  forewarn  the  camerist  is  to  forearm, 
and  we  therefore  describe  the  common 
causes  of  failure. 

Under-Exposure. 

Caused  by  making  snap  shots  in- 
doors, or  in  the  shade,  or  when  the 
light  is  weak,  late  in  the  day,  or  by 
closing  the  lens  too  soon  on  time 
exposures. 


23 


Over-Development. 

Caused  by  leaving  the  negative  too 
long  in  the  developer. 

In  this  case  the  negative  is  very  strong 
and  intense  by  transmitted  light  and 
requires  a  very  long  time  to  print. 
The  remedy  is  obvious. 

Under -Development. 

Caused  by  removal  from  the 
developer  too  soon. 

An  under-developed  negative  differs  from 
an  under-exposed  one,  in  that  it  is 
apt  to  be  thin  and  full  of  detail, 
instead  of  harsh  and  lacking  in  detail. 
If  the  development  is  carried  on  as 
before  directed,  this  defect  is  not 
liable  to  occur. 

Spots,  Streaks,  Etc. 

Air  bells  on  the  film  in  the  developer 
or  fixing  bath  are  liable  to  cause 
spots  ;  and  streaks  are  caused  by 
allowing  the  film  to  remain  uncov- 
ered in  part  by  the  various  solu- 
tions while  in  them. 

White,  milky  spots  are  evidence 
that  the  negative  has  not  been 
properly  fixed,  and  the  negative 
should  be  put  back  into  the  fixing 
bath  and  then  re-washed. 


?4 


PART.  V, 


Printing  on  Eastman's  Solio  Paper. 

HAVING  found  that  amateurs  can  easily 
handle  our  Solio  Paper  we  have  now 
substituted  it  for  the  Ferro-Prussiate 
Paper,  which  we  formerly  furnished  with 
the  ABC  outfits,  as  it  makes  far  hand- 
somer pictures  than  the  blue  prints. 

Solio  prints  have  a  warm,  brown  tone 
and  are  usually  mounted  on  card-board 
and  highly  burnished. 

Method  of  Printing. — Open  the  printing 
frame  of  the  ABC  outfit  and  lay  the 
negative  back  down  upon  the  glass  (the 
back  is  the  shiny  side).  Place  upon  this 
a  piece  of  Solio  Paper,  face  down. 
Replace  the  back  of  the  frame  and  secure 
the  springs.  The  back  is  hinged  to  per- 
mit of  uncovering  part  of  the  print  at  a 
time  to  inspect  it  without  destroying  its 
register  with  the  negative.  The  opera- 
tion of  putting  in  the  Sensitive  Paper 
must  be  performed  in  a  subdued  light, 
that  is  to  say  in  an  ordinary  room,  as  far 
as  possible  from  any  window.  The  paper 
not  used  must  be  kept  covered  in  its 
envelope. 

25 


The  printing  frame,  when  filled  as 
directed,  is  to  be  laid  glass  side  up  in  the 
strongest  light  possible  (sunlight  pre- 
ferred) until  the  light,  passing  through 
the  negative  into  the  Sensitive  Paper,  has 
impressed  the  image  sufficiently  upon  it. 
The  progress  of  the  printing  can  be 
examined  from  time  to  time  by  removing 
the  frame  from  the  strong  light,  and  open- 
ing one-half  of  the  hinged  back,  keeping 
the  other  half  fastened  to  hold  the  paper 
from  shifting.  The  printing  should  be 
continued  until  the  print  is  a  little  darker 
tint  than  the  finished  print  should  be. 
Place  prints  without  previous  washing  in 
the  following  combined  toning  and  fixing 
bath  : 

2  oz.  Eastman's  Solio  Toning  Solution. 
4  oz.  Cold  Water. 

Pour  the  toning  solution  into  one  of 
the  trays  and  immerse  the  prints  one  after 
the  other  in  the  toning  bath.  Five  or  six 
prints  can  be  toned  together  if  they  are 
kept  in  motion  and  not  allowed  to  lie  in 
contact.  Turn  the  prints  all  face  down 
and  then  face  up  and  repeat  this  all 
the  time  they  are  toning.  The  prints  will 
begin  to  change  color  almost  immediately 
from  reddish  brown  to  reddish  yellow, 


26 


then  brown  to  purple.  The  change  will 
be  gradual,  from  one  shade  to  another 
and  the  toning  should  be  stopped  when 
the  print  gets  the  shade  desired. 

Six  ounces  toning  solution  will  tone 
two  dozen  prints  ;  after  that  a  new  solu- 
tion should  be  made  same  as  before. 

When  the  proper  shade  has  been 
attained  in  toning  bath,  the  prints  should 
be  transferred  for  five  minutes  to  the  fol- 
lowing salt  solution  to  stop  the  toning  : 

Salt,  i  oz. 
Water,  32  ozs. 

Then  transfer  the  prints  to  the  washing- 
tray  and  wash  one  hour  in  running  water, 
or  in  16  changes  of  water. 

The  prints  are  then  ready  for  mounting 
or  they  can  belaid  out  and  dried  between 
blotting  paper. 


27 


Price  List. 


Bulls  Eye  Camera,  for  3 1/2  x  3^  pictures,  $8  00 

Black  Sole  Leather  Carrying  Case,    -  1  25 

Staff  Tripod,  -  -  -  1  50 
Spools  of  Transparent  Film,  12  exposures 

vA  x  3lA,       -     :3>  %  60 

Spools  of  Transparent  Film,  g£  exposures 

3*A  X                     -          -         -  90 
ABC  developing  and   Printing  Outfit, 
including  Solio  paper  and  Toning  Solu- 
tion for  24  prints.            -           -  I  50 
Solio  paper,  4x5,  per  dozen,       -          -  15 
seconds  "    44  per  hundred,        -  75 
Combined  Toning  and  Fixing  Solution  for 

Solio,  per  8  oz.  bottle,  -  -  50 
Eastman's  Eikonogen  Developer  Powders, 

per  dozen,     -                     -          -  50 

Mounts,  maroon,  gold  level  edge,  per  doz.  15 

Mounts,  primrose,  "      "      u       **    41  18 

Hyposulphite  Soda,  pmv%vized,  per  pound,  10 

Bromide  potassium,  pe^loz.  bottle,          -  15 

Developing  and  Printing  only,  each,  12  A 

Developing  only,  each,             -           -  06 

Printing  only,  each,           -                     -  08 


On  orders  for  developing  and  printing  less  than 
one  dozen,  25  cents  extra  will  be  charged. 


Unlargem  en  ts. 

ir  x  14  Bromide  enlargements  from  Bullet 

negatives,  mounted  on  card,  -         $1  25 

14  x  17  Bromide  enlargements  from  Bullet 

negatives,  mounted  on  card,    -  -      1  50 


